The theme of the opening section of this composition revolves around a D-C sharp-B-A sequence, while John Daverio's Crossing Paths skewers Eric Sams' cryptographic argument that this work is among those by its composer to utilize variations on a C-B-A-G sharp-A sequence. This composition's instrumental postlude quotes both 
The theme of the opening section of this composition revolves around a D-C sharp-B-A sequence, while John Daverio's Crossing Paths skewers Eric Sams' cryptographic argument that this work is among those by its composer to utilize variations on a C-B-A-G sharp-A sequence. This composition's instrumental postlude quotes both "Der Mond komt still gegangen" and "Am leuchtenden Sommermorgen," and in the twelfth song of this work flowers instruct the narrator not to be angry with their sister and call him a "sad, pale man." This work, whose composer dedicated it to Wilhemine Schroder-Devrient, adds textual repetitions in only one movement, Ich grolle nicht. The last word of this work falls on a half-diminished chord, and the climax of its Aus alten Marchen song has been described as a conflict between this composer's artistic personalities Florestan and Eusebius. For 10 points, name this song cycle consisting of 16 settings of Heinrich Heine poems, written by Robert Schumann.
The theme of the opening section of this composition revolves around a D-C sharp-B-A sequence, while John Daverio's Crossing Paths skewers Eric Sams' cryptographic argument that this work is among those by its composer to utilize variations on a C-B-A-G sharp-A sequence.
{Dichterliebe} [or The {Poet's Love}]